Robert Friberghttps://works.bepress.com/robert-friberg/Recent works by Robert Fribergen-usCopyright (c) 2019 All rights reserved.Mon, 01 Feb 2016 00:00:00 +00003600The Effect of Posture on Selected Aspects of Trumpet Performancehttps://works.bepress.com/robert-friberg/1/<div class="line" id="line-13"><b>PURPOSE/HYPOTHESIS:</b>&nbsp;The purpose was to examine if short term improvement in posture results in discernible differences in the quality of selected aspects of trumpet playing. Research hypotheses are: Musicians will perceive differences in freeness of air flow, fluidity of note connections, and clarity of tongued articulation when listening to trumpet played in normal and improved postures; Music professionals are more perceptive in identifying differences in trumpet music quality than student musicians; Brass players and nonbrass players will differ in their ability to identify differences in trumpet music performed in normal and improved postures.</div><div class="line" id="line-233"><br></div><div class="line" id="line-58"><b>NUMBER OF SUBJECTS:</b>&nbsp;Twenty-seven music faculty and advanced music students assessed the performances.</div><div class="line" id="line-230"><br></div><div class="line" id="line-62"><b>MATERIALS/METHODS:</b>&nbsp;University trumpet students were recorded playing both a lyrical piece and technical piece. Each musician was then provided posture training. They were recorded playing the same music again in the improved postural position. The recorded pairs of excerpts were randomized and transferred to a CD. Music faculty and upper-level music students listened to the CD on a blind basis scoring the performances on the variables noted above, using a 7-point Likert scale.</div><div class="line" id="line-227"><br></div><div class="line" id="line-66"><b>RESULTS:</b>&nbsp;MANOVA revealed performances in the efficient posture resulted in statistically significant higher scores for the lyrical piece (<i>P</i>&lt;.000), with significant improvement in air flow (<i>P</i>&lt;.000), note connections (<i>P</i>&lt;.000), and consistency (<i>P</i>&lt;.000). MANOVA for the technical music demonstrated significant differences in clarity of articulation (<i>P</i>&lt;.03) and air flow (<i>P</i>&lt;.000) in efficient posture. Repeated measure ANOVA between faculty and student musicians revealed a significant difference (<i>P</i>&lt;.009) with faculty differentiating efficient from normal posture for both technical and lyrical music. No difference existed between brass players and other musicians in differentiating postures.</div><div class="line" id="line-224"><br></div><div class="line" id="line-203"><b>CONCLUSIONS:</b>&nbsp;Previous studies of posture with wind instrument players have not included systematic observations of the perceived quality of performance. This study indicates that lyrical music showed immediate improvement with short-term posture training. Although there was significant improvement in some aspects of the technical music, the total score for this piece improved only slightly with improved posture, suggesting that as difficulty of the music increases, the player may compromise the improved/efficient postural position to meet the more challenging cognitive and psychomotor challenges. Additionally, there were slight differences between the perceptions of student and professional musicians when listening to the lyrical music and more pronounced differences in perceptions of the more difficult music. This suggests that more experienced musicians are better able to hear the nuances indicative of compromised improved/efficient posture.</div><div class="line" id="line-221"><br></div><div class="line" id="line-207"><b>CLINICAL RELEVANCE:</b>&nbsp;Improved/efficient posture is important for maximizing performance for trumpet musicians. An intentional program focused on the biomechanical and neuromechanical limitations of posture is important for the efficient postural position to become normative.</div>Robert Friberg et al.Mon, 01 Feb 2016 00:00:00 +0000https://works.bepress.com/robert-friberg/1/Conferences and PresentationsSite of Tensioning for Treatment of Median and Ulnar Nerve Neurodynamic Dysfunctionhttps://works.bepress.com/robert-friberg/2/<div class="line" id="line-13"><b>PURPOSE/HYPOTHESIS:</b>&nbsp;Determine if proximal or distal nerve tensioning is more effective in treatment of upper limb neurodynamic dysfunction.</div><div class="line" id="line-96"><br></div><div class="line" id="line-43"><b>NUMBER OF SUBJECTS:</b>&nbsp;Forty subjects with a positive upper-limb neural tension test for the median or ulnar nerve (9 male, 31 female).</div><div class="line" id="line-99"><br></div><div class="line" id="line-47"><b>MATERIALS/METHODS:</b>&nbsp;Subjects randomly assigned to either proximal tensioning (n = 14), distal tensioning (n = 13), or control (n = 13) groups. Dependent measures: Neck Disability Index (NDI), range of motion (ROM), grip and pinch strength. Treatment groups received training and a Home Exercise Program of 2 minutes tensioning daily for 2 weeks. The control group was advised to resume normal activities. Neurodynamic restrictions were assessed with a goniometer with elbow flexion for median nerve and shoulder abduction for ulnar nerve at provocation of symptoms. Sequential instructions and demonstration for assessment of grip and pinch strength, using the Jamar Hand and Pinch Dynamometer were given prior to testing. While sitting, the standard grip strength position was used which required humeral adduction with elbow flexion of 90°, and neutral forearm and wrist position. While sitting, the pincer pinch strength position was used which required humeral adduction with elbow flexion of 90°, and neutral forearm and wrist position with index finger and thumb remaining out of hyperextension. Subjects squeezed the dynamometer at setting 2 for 3 seconds alternating between the right and left hands. The scores of 3 successive trials were recorded with the mean score used for analysis.</div><div class="line" id="line-102"><br></div><div class="line" id="line-51"><b>RESULTS:</b>&nbsp;No significant differences were found between groups preintervention for pinch, ROM, and NDI scores. There is statistically significant difference in mean pinch (<i>P</i>&lt;.05) in both intervention groups compared to control, with proximal treatment group showing greater mean pinch than distal, and distal greater than control. There is no significant change with NDI score. Total median ROM improved significantly (<i>P</i>&lt;.05) in intervention groups when compared to the control, with no difference between proximal and distal treatment groups. Total Ulnar ROM improved significantly (<i>P</i>&lt;.05) in proximal and distal treatment groups compared to the control, with distal tensioning group having a statistically significant improvement compared to proximal tensioning group.</div><div class="line" id="line-105"><br></div><div class="line" id="line-88"><b>CONCLUSIONS:</b>&nbsp;Pinch strength improved significantly in both proximal and distal groups compared to the control, with no difference between treatment groups. Median ROM improved significantly with both proximal and distal groups compared to control, with no difference between treatment groups. Ulnar ROM improved significantly with both proximal and distal groups compared to control, but distal intervention group was statistically significant when compared to proximal intervention group.</div><div class="line" id="line-108"><br></div><div class="line" id="line-92"><b>CLINICAL RELEVANCE:</b>&nbsp;Selecting a strategy for tensioning (proximal or distal) for the median nerve does not make a difference while tensioning of the ulnar nerve is most effectively accomplished distally.</div>Robert Friberg et al.Mon, 01 Feb 2016 00:00:00 +0000https://works.bepress.com/robert-friberg/2/Conferences and PresentationsImproving Dynamic Posture for Musical Performancehttps://works.bepress.com/robert-friberg/3/Robert FribergMon, 01 Feb 2016 00:00:00 +0000https://works.bepress.com/robert-friberg/3/Conferences and PresentationsThe Power of Posturehttps://works.bepress.com/robert-friberg/4/<div class="line" id="line-13">At the conclusion of this program, the learner will be able to.... </div><ol><li class="line" id="line-15">Demonstrate an understanding of the biomechanic and neuromechanic components of static and dynamic posture.</li><li class="line" id="line-17">Analyze static and dynamic posture from a biomechanical and neuromechanical perspective.</li><li class="line" id="line-19">Differentiate biomechanical and neuromechanical postural dysfunction.</li><li class="line" id="line-21">Create a physical therapy intervention to address the biomechanic and neuromechanic dysfunctions associated with static and dynamic posture</li></ol>Robert FribergFri, 01 Jan 2016 00:00:00 +0000https://works.bepress.com/robert-friberg/4/Conferences and PresentationsThe Power of Posturehttps://works.bepress.com/robert-friberg/5/Robert FribergThu, 01 Oct 2015 00:00:00 +0000https://works.bepress.com/robert-friberg/5/Conferences and PresentationsThe Neurobiology of Emotional Intelligencehttps://works.bepress.com/robert-friberg/6/Robert Friberg et al.Thu, 01 Oct 2015 00:00:00 +0000https://works.bepress.com/robert-friberg/6/Conferences and PresentationsImproving Dynamic Posture for Musical Performancehttps://works.bepress.com/robert-friberg/8/<div class="line" id="line-13">Given the almost universal assumptions in brass pedagogy that good posture allows freer air flow and reduces unnecessary tension, corresponding improvements in sound, flexibility, and articulation may be expected with improved posture. Published studies of posture in brass players, however, have not included systematic observations of the perceived quality of these aspects of performance. Recent work by Friberg and Hunsaker has explored this area of interest, finding significant results with short-term postural training. This session begins with a brief review of relevant research followed by an interactive session with audience participation. The neuromechanic of posture is the foundation for understanding efficient and effective movement. The biomechanics and more importantly, neuromechanics and their role in effective motor control, will be explained and demonstrated in a practical and usable manner for performers. Presenters will work with volunteers to establish efficient posture and movement while playing short excerpts of their choosing. Brass players are invited to bring both period and modern instruments. Other instrumentalists and vocalists are also welcome to participate.&nbsp;</div>Robert Friberg et al.Tue, 01 Sep 2015 00:00:00 +0000https://works.bepress.com/robert-friberg/8/Conferences and PresentationsIndividualized Programs for Continuing Improvementhttps://works.bepress.com/robert-friberg/7/<div class="line" id="line-13"><span style="font-family: Arial, Helvetica, sans-serif; font-size: 13.3333px;">The authors will discuss the limitations of traditional postural instruction in typical music school settings, and describe their posture training program for university music students. Recommendations will be offered for those who would like to increase their understanding and ability to implement efficient performance strategies for themselves and their students. A rubric will be provided for the application of the intervention principles. Following this, as time allows presenters will work with interested musicians, tailoring a program for their specific needs. These participants will be screened for biomechanical and neuromechanical dysfunction related to posture. A specific program will be developed to improve static and dynamic posture as it relates to performance.</span></div>Robert Friberg et al.Tue, 01 Sep 2015 00:00:00 +0000https://works.bepress.com/robert-friberg/7/Conferences and PresentationsEffects of Neural Sliding and Neural Tensioning For Median and Ulnar Nerveshttps://works.bepress.com/robert-friberg/9/S Thurmond et al.Wed, 01 Oct 2014 00:00:00 +0000https://works.bepress.com/robert-friberg/9/Conferences and Presentations